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Also known as: Pierre, Petrushka

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Book One
Book One, Part One

Pierre has recently returned from abroad, where he has been educated. His rich father is dying in Moscow, but here he, “a child in a toy shop”, looking for a profound political conversation to join. He is stout, bespectacled and evidently unaware of the proper way to conduct oneself at such an engagement.

He and the abbé Morio are “talking and listening too eagerly and too naturally”, the worst sort of behaviour at an event such as this. But note: he is the only man in the room who can put a smile on the weary face of Andrei Bolkonsky.

Oh, Pierre. With his “extreme youth” and wish to express his mind, he throws himself into an argument with a French émigré. His social faux pas come thick and fast: the “political necessity” of an assassination, “Napoleon is great”, and “The Revolution was a grand thing”. Only his arresting smile, “childlike, kindly, even rather silly”, prevents a truly ugly scene. Oh, and the intervention of his friend, Andrei Bolkonsky.

Our stout young friend can neither enter nor leave a room in the correct way and yet everyone must agree he’s a “good-natured fellow”. At Andrei’s, he makes himself at home with a book. He admits to his friend that he has spent three months not making a decision about his future. He has been out of the country since he was ten, but his father says he must now choose a profession. He says he would fight for freedom but not against “the greatest man in the world”.

Pierre is distressed and dumbfounded to see her dear friend so unhappy and at odds with his wife. We learn how much Pierre reveres Andrei. But still, he quickly talks himself out of his promise not to visit Anatole Kuragin. There, among drink and gambling and a harrassed bear, he watches the notorious Dolokhov win a bet with an Englishman, a windowsill and a bottle of rum.

The wild night ended with them tying the bear to a policeman and throwing them in the canal. Pierre has been sent to Moscow in disgrace, where his father is dying. Despite being illegitimate, there is talk of him inheriting his father’s fortune.

From Count Rostov, we learn that Pierre is a familiar guest of the Rostovs and has “danced with the children.” He must come to the name-day celebrations!

A touching portrait of a young man leading a “lonely life”. Prince Vasili is making sure he does not see his father, and he spends his time in his room and in his head. There he imagines he is Napoleon fighting the dastardly William Pitt, prime minister of the United Kingdom. Pierre is happy to discover a “pleasant, intelligent and resolute” friend in Boris.

Well, everyone is looking at Pierre after what happened in St Petersburg with the bear and the policeman. And he’s the only one who doesn’t notice he’s in the way, as usual. Marya Dmitrievna tells him frankly how shameful his behaviour has been. At table, he sits across from Natasha, and “that funny lively little girl’s look” makes him laugh without knowing why.

Our monosyllabic bear gives a little grunt when poked, but he hardly seems there. Natasha is the only one who really notices him. Perhaps hoping to make him smile with her hijinks at the table.

Pierre is bored by the political conversation between Shinshin and the other guests. Natasha asks him to dance, and he is delighted to be dancing with a grown-up man who has been abroad.

While Pierre makes merry with the Rostovs, we learn his father has had a second stroke and is not expected to survive. We also learn about a will that would make Pierre his father’s legitimate heir.

Pierre is led to his father’s rooms by Anna Mikhailovna, who pointedly reminds him that she is watching over his interests. He resolves to “not act on his own ideas tonight”, but to do as he’d told. He feels ashamed to call the count his father.

Like many of us, Pierre has no idea what to do in the presence of someone who is dying. He follows Anna Mikhailovna’s instruction, although she struggles to understand what Count Bezukhov wants and needs. No final words of comfort for the son, only a “lifeless arm” and “a feeble, piteous smile”.

He stumbles through the charade with the inlaid portfolio, swaying between incomprehension and a sense that all this is somehow essential. He is hungry and tired, and when his father is dead, the young man falls asleep without understanding anything Anna Mikhailovna is saying.

In Julie’s letter, we get the confirmation that Pierre is now Count Bezukhov, inheriting the “finest fortune in Russia”. All the “mamas burdened by marriageable daughters” are after him, and some are even saying Julie will be his wife. Marya says he has an “excellent heart” and worries about his newfound burden of riches.

Now one of the richest men in Russia, Pierre has little time to himself. All his friends are away, and his whole time is taken up with dinners and balls, Prince Vasili and Helene. Everyone is very nice to him, and it is much easier to think of them as sincere than it is to think badly of them. Helene, he has always thought, is stupid. But now, for some reason, he is being drawn to her. He knows she will be his wife, whether it be a good or bad thing. And it is definitely a bad thing.

Pierre has lost all resolve at the sight of Helene’s beautiful bosom. Though he knows it all has to happen, he cannot bring himself to take the next step. He absorbs all the forced merriment at Helene’s name day and feels anxiously happy. It is something of a relief when Prince Vasili takes the initiative. He cannot remember what one says in these circumstances, but after removing his glasses and kissing Helene, he remembers: I love you. Said weakly and, of course, in French.

Six weeks later, they are married.

Anna Mikhailovna tells us that Pierre is “quite broken by his misfortune” because “dare-devil” Dolokhov has “compromised” Hélène.

Pierre is at Bagrataion’s dinner at the English Club. He is, of course, sitting opposite Dolokhov. His wife has told him to grow his hair and lose his spectacles, and here he looks sad and dull.

Pierre is tormented by an anonymous letter and suspicions that Katiche has placed in his mind. He considers Dolokhov a bully, and Pierre is afraid of him. Rostov tells Dolokhov that Pierre is a fool and when Dolokhov makes a toast to beautiful women and their lovers, Pierre challenges him.

The next morning, he turns up with Nesvitsky. He hasn’t slept, and he ignores Nesvitsky’s attempt to stop the duel. Pierre takes the pistol, having never handled one in his life before.

Pierre stays in to the deep snow and fires. Dolokhov is wounded. Pierre runs towards him, and Dolokhov tells him to return to the barrier. Pierre does not cover himself, but the bullet misses. “Folly!” he says, wandering off into the woods.

“Pierre was one of those people who, in spite of an appearance of what is called weak character, do not seek a confidant in their troubles. He digested his sufferings alone.”

After the duel, Pierre goes to his father’s room. He broods, and a storm of feelings keeps him awake. He sees that pride and self-deception have undone him and that Helene is a “depraved woman.” He resolves to leave for Petersburg. The next morning, Helene calls him a fool for believing the rumours. He threatens her, breaks a marble table, and shouts, “Out!” She flees the room. He gives her control of all his estates and leaves for Petersburg.

After leaving his wife in Moscow, Pierre set out to Petersburg. He is delayed at a post-station, where he finds himself asking life’s big questions: What do we live for? What is life, and what is death? Another man joins him: an ancient traveller with bright eyes who fixes him with a steady and severe gaze.

The stranger is Bazdeev, a freemason. Pierre tells him they are very different and will not understand one another. But Pierre hates his life and wants answers. The more Bazdeev speaks the greater is Pierre’s “sense of comfort, regeneration, and return to life.” On parting, Bazdeev tells him to seek out Count Willarski in Petersburg.

Pierre is initiated into the Brotherhood of Freemasons. In the arcane and bizarre ceremony he says he desires “regeneration” and is especially taken by the aim of improving mankind. Of the seven virtues, he conveniently forgets discretion. And although he told Bazdeev that he hates his life, he loves it too much to embrace the seventh virtue: The love of death. And as with most cults, the proceedings include a generous donation of all his valuables. Finally, his greatest passion? Women, apparently.

Pierre’s initiation rituals are completed, in which he sees the lesser light and receives a drawer full of symbolic gloves. He is aware of his own shame, the Grand Master's embarrassment, and moments of awkwardness in the room. But he pushes aside all doubts: “He could not stop halfway.” And he went home “as if he had returned from a long journey … completely changed.” But perhaps his long journey has only begun.

News of his duel has reached the emperor's ears, and Pierre decides to leave Petersburg to visit his estates. But Vasili stands in his way, playfully trying to patch up any misunderstanding between Pierre and Hélène. Pierre realises how hard it is for him to say what is not expected. But with whispering fury, he tells Vasili to go. Are you ill? says Vasili Kuragin. No, not ill. Pierre’s just finding his voice.

His duel with Dolokhov has been hushed up, but his separation from Helene is the talk of society. “No w he alone was blamed for what had happened, he was said to be insanely jealous, and subject like his father to fits of bloodthirsty rage.”

Pierre resolves to reform his estates: free the serfs, end corporal punishment and build schools and hospitals. A cunning chief steward says, “Yes, count”, and makes sure none of this happens. In Kiev, Pierre continues his old way of life in new surroundings, consoled by the knowledge that he is helping mankind. His serfs appear happy and thankful, but in reality, his stewards are duping him, and the world continues as it did before.

Pierre visits Andrei on his estate. Both men are much changed. After an awkward start, they begin to argue about the nature of good and evil. Pierre believes he ruined his life by living for himself and found happiness in living for others. Andrei lives for himself and his family. He also wants to free the serfs, but only because he has seen how unlimited power turns good men into monsters.

Two old friends set out to Bald Hills. Pierre can see Andrei is unhappy but is reticent to begin talking about his beliefs – fearing they will be shot down. But when he does speak, Andrei listens and does not laugh at him. They cross a river at sunset. Pierre has faith in the world, but Andrei will only be convinced by “life and death”, his grief and remorse. “If only it were so!” he says. On the other bank: outwardly he is unchanged. Inwardly, he has begun a new life.

When Andrei and Pierre arrive at Bald Halls, Marya is receiving two pilgrims whom Andrei disparagingly calls “God’s folk.” In contrast to his sensitivity towards Pierre’s beliefs, Andrei treats Marya and these pilgrims cruelly. And Pierre behaves no better: one man’s religion is another’s superstition. But in the end, both men are penitent, and Marya, as is her way, forgives them.

Chastened, Pierre listens attentively to the pilgrims and treats them with renewed kindness. Marya tells Pierre she is worried about Andrei. His wound has re-opened and he is suffering spiritually. During his stay, everyone takes a shine to Pierre. “A fine fellow” who “talks rubbish” says the old prince. Pierre realises the strength of his friendship with Andrei, conveyed in the happiness he brings to the household at Bald Hills.

These past two years, Pierre has taken a leading role in the Petersburg freemasons. But he doubts the motivations of many of his brothers, and goes abroad to seek guidance from other lodges. He returns in the summer of 1809 with a proposal for the masons to become active in politics, working towards a universal government. The Grand Master reproves him for a "love of strife” and his proposal is rejected.

Pierre sinks into depression. He is under pressure to return to his wife, but feels unable to make that step. He goes to see Bazdeev who is living poorly and suffering a great deal. Bazdeev tells him to focus on the improvement of the self. Pierre begins a diary and moves back in with his wife.

Hélène’s salon has become the epicentre of Francophile intellectual life in Petersberg, much to the consternation of her husband. Pierre is regarded as a harmless, absent-minded crank whom no one takes seriously. Boris becomes an intimate friend of the household. Hélène calls him her pageboy and treats him like a child. Pierre believes his wife has given up “affairs of the heart” but feels a “strange antipathy” towards Boris.

Pierre keeps a diary, documenting the strivings of a lonely and tormented soul. He admits Boris into the Brotherhood while harbouring murderous urges towards him. His dreams are a maze of fantasy and longing: he is attacked by dogs of passion and lies down with a young Bazdeev. He draws the Song of Songs as a maiden and feels he is doing wrong.

Pierre is at the New Years’ Eve ball but behaves as though “he were passing through a crowd at a fair.” He had promised to introduce partners to Natasha, but stops to talk to Andrei. Peronskaya calls him the “universal Freemason” and a “buffoon.”

Pierre approaches an “animated and bright” Andrei and introduces him to Natasha.

Pierre is in a gloomy mood. For the first time, he feels humiliated by Hélène. Natasha wishes to help him, but she cannot understand why anyone can be unhappy tonight.

Hélène considers it beneath her to accept an invite to the Bergs’ housewarming, but Pierre bumbles along, arriving uncharacteristically early and upsetting the careful symmetry of the Bergs’ tidy study.

Pierre notices the effect Andrei and Natasha are having on each other, and feels both pain and joy to see it. Vera decides her party requires “subtle allusions to the tender passions”, so she asks Andrei what he thinks of Natasha. When an embarrassed Andrei has escaped, he tells Pierre they must talk. Berg decides the party is lacking “a dispute about something important and clever”, so he draws together Pierre and the general.

Pierre rouses himself from his dark thoughts to tell Andrei to “marry, marry, marry.” He sees a new man in Andrei, a lover of light. Andrei resolves to marry Natasha, with or without his father’s permission.

Andrei tells Natasha to confide in Pierre, who "is a most absent-minded and absurd fellow" but with a "heart of gold."

Following Natasha and Andrei’s engagement, Pierre descends into a deeper depression. His dissipated life leads him to Moscow, where he sinks into society, ‘warm and dirty as in an old dressing-gown.’ There, he is the heart, soul and money bags of every party. But inside, he is tormented by the senselessness of life and everyone’s avoidance of the dreadful ‘it’ awaiting us all.

On St Nicholas’s Day, Pierre is one of the select guests invited to old Bolkonsky’s name-day dinner.

After dinner, Pierre tells Marya that Boris is in Moscow with the intention of marrying a rich heiress — Marya or Julie Karagina. Marya begins to confide in Pierre about her father and her torments but stops and asks instead about Natasha. Pierre decides to speak the truth, even though it is not what Marya wants to hear.

Pierre appears at the opera. ‘His face looked sad, and he had grown still stouter since Natasha last saw him.’ When he sees Natasha, he becomes animated and comes hastily to talk to her. He does not talk to his wife.

Marya Dmitrievna requests to see Pierre and tells him the situation in confidence. Pierre struggles to understand but agrees to get Anatole to leave Moscow to prevent a duel with Andrei, Nikolai or the count. The count still knows nothing. Pierre tells Natasha that Anatole is already married. Unable to speak, she makes a sign for everyone to leave her alone.

Pierre goes in search of Anatole. Rumours of Natasha's abduction have already reached the English Club. Pierre finds Anatole at home with his wife. He loses his temper and orders Anatole to leave Moscow. When Anatole threatens a duel, Pierre swallows his pride and takes back his words. Next day, Anatole leaves the city.

Pierre visits Andrei when he arrives in Moscow, finding him unnaturally animated about war and politics. Andrei asks his friend to return Natasha’s items and tell her she is ‘perfectly free.’ He adds that he knows she should be forgiven, but he cannot forgive her. Pierre observes the contempt the Bolkonskys have for the Rostovs.

Pierre goes to the Rostovs, and Natasha asks to see him. She says she knows it is all over but wants Andrei to forgive her. Pierre’s judgement of Natasha melts away, and feeling sorry for her, he tells her he is her friend, and she has her whole life ahead of her. ‘If I were not myself,’ he says, he would ask for her love. After they part, Pierre rides home under a starry sky and a great comet that portends the end of the world. For Pierre, it is a sign of a new life about to begin.

Natasha is ill, grieving, and heartbroken. All joy is gone, and she only finds comfort in the companionship of her brother Petya and with Pierre. But she is convinced Bezukhov only acts out of universal kindness and pity toward her sad state.

Pierre is in love, and everything else seems of no importance. Everything except the coming catastrophe and his own role in destiny. Seduced by numerology, he manipulates his name to suggest he will stop Napoleon. But in typical fashion, he decides to do nothing. That Sunday, he takes to the Rostovs the emperor’s appeal to the people and the latest news of Nikolai and Andrei.

Pierre at the Rostovs. Natasha is singing again and wants to know whether Pierre approves. Petya plans to join the Hussars secretly and wants his namesake’s opinion. He, Pierre, is confused about his feelings for Natasha and leaves early, resolving not to come to the Rostovs again.

Pierre attends a gathering of nobles and merchants at the Sloboda Palace. Count Bezukhov has renewed thoughts of revolution and reform and tries to insert his ideas into the conversation. But his intervention leads to a shouting match and displays of patriotism, drowning out Pierre’s modest proposal to ask the emperor about the numbers and position of the army.

The emperor thanks the nobility, and Pierre feels ashamed of his earlier intervention. He pledges a thousand men to the army.

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